PAGUATE, N.M. — Here in the Laguna Pueblo community, traditional flat-roofed homes built from locally sourced, mud-coated limestone surround a central gathering plaza.

One such house boasts a rich history of over 300 years; it has been reinforced and modified with modern building materials. An electric line branches off from a nearby pole, complemented by a satellite dish glinting in the sunlight. The robust walls and ceiling feature wooden beams, topped with waterproof roofing that shields the home from the brisk winds of spring.

This is the residence of Pat Pruitt.

Upon entering through the unadorned wooden door, visitors encounter much more than just an aged homestead. While the main living area is compact—Pruitt recalls his family of five once shared the small bedroom—there’s an addition at the back that reveals a different narrative.

Within this addition are three expansive workspaces filled with Pruitt’s creative tools: lathes, drill presses, CNC machines, milling equipment, and various hand tools. Skateboard decks and artistic creations bring color to the otherwise stark concrete walls.

The largest area serves dual purposes, acting as both a storage space and a dining area for special occasion feasts, while a newer second floor adds more living space and a media room.

Like many Native artists, Pruitt specializes in metalwork, but his choice of materials diverges from traditional silver or gold. Instead, he employs stainless steel and titanium, opting for distinctive raw industrial diamonds and stingray skin to enhance his pieces.

Pruitt represents a burgeoning group of artists breaking free from the confines of how “Indian” art is popularly defined, responding to the expectations of collectors, markets, and certain museums.

From an accident to a creative journey

Pruitt discovered his passion for artistry quite unexpectedly.

“I had a severe bike accident when I was 15,” he explained. “I ended up with a fractured skull, lost seven teeth, and faced a lengthy recovery process.”

During his recuperation, Pruitt sought an outlet for his boredom and asked his neighbor, experienced silversmith Greg Lewis, to teach him the craft. He later honed his skills further under the guidance of another Laguna artist, Charlie Bird.

Pruitt returned to creating jewelry while navigating life as a cash-strapped student at Southern Methodist University in the early 1990s, where he pursued a degree in mechanical engineering.

“With the emerging body piercing trend, I thought, ‘I can craft this jewelry myself,’” he recounted.

What began as creating pieces for acquaintances quickly morphed into a successful venture within the jewelry market, marking his first introduction to stainless steel and titanium.

However, Pruitt faced setbacks when cheaper, imported jewelry flooded the market. Adapting once again, he merged his silversmithing background with advanced machining techniques and a newfound enthusiasm for unconventional materials, paving a new way in Native art.

Initially, the response to his innovative work was mixed. Like many artists whose creations defy traditional “Indian” characteristics, Pruitt encountered skepticism from collectors. Certain galleries and museums mistakenly perceived his products as industrially manufactured and dismissed them.

However, his distinction came to light after he received one of the first Conrad House Innovation Awards at the Heard Museum Indian Fair & Market in 2007 for his unique collar and leash set made from a rubber timing belt and stainless steel, titled “Lucky 13.” This honor celebrates the innovative spirit of the Navajo/Oneida artist known for diverse artistic expressions.

Since that time, Pruitt has explored new dimensions in metals, utilizing anodized titanium paired with stingray skin, rubber, and industrial diamonds.

His artistic journey has also enabled him to return to his Pueblo roots, where he actively engages in community service—serving on the council, tending to local orchards and agricultural efforts, and assisting with funeral preparations.

Now at 50 years old, Pruitt has embarked on a new chapter in his artistic and community engagement journey.

On a fresh path, he returned to complete his bachelor’s degree at the Institute of American Indian Arts located in Santa Fe, New Mexico.

“I’ve reached my limit without having a degree,” he shared. Pruitt is also seizing this chance to further develop his skills as an artist. He plans to keep creating from his studio in Paguate, making gradual improvements to his home as he gathers resources.

“Home improvement loans aren’t available on the reservation,” he noted.

Determined to shape his future, Pruitt made the decision to end a contract for a mid-career retrospective exhibit after the museum announced that his initial works in body piercing art—which launched his journey into metal art—would not be included.

In breezy Winslow, Arizona, two brothers chart their course

Founded by the Atchison, Topeka and Santa Fe Railway, Winslow is a town full of contrasts.

With a population of around 10,000, Winslow, Arizona, may appear rough around the edges, yet it also features a beautifully restored Fred Harvey Company-era hotel, a few Amtrak stations, vibrant bars, restaurants, and numerous shops in its Victorian downtown offering Route 66 memorabilia. The sculptor of the famous bronze “Standing on the Corner,” inspired by the Eagles’ hit “Take it Easy,” even sells T-shirts depicting his creation.

This quaint railroad town, now a crew-change spot for BNSF Railway, is emerging as a hub for artists as well. A number of Native artists have chosen Winslow, or Béésh Sinil, which means “Place of Steel Rails” in Navajo, as their home.

Among these artists are brothers Marlowe and Yancey Katoney.

Marlowe’s woven artworks stray far from traditional Navajo designs. Rather than depicting classic scenes with hogans, sheep, or women in velvet skirts and turquoise, his creations feature skateboarders, life-like images of Code Talkers, mysterious all-seeing eyes, and the Navajo Tree of Life adorned with Angry Birds. His use of color ranges from vibrant neon shades to the gentle hues of dawn.

Marlowe didn’t originally aim to become one of Indian Country’s most innovative weavers; his interest sparked while watching his grandmother weave.

“I was always captivated by the strings and their potential,” Marlowe explained. “I thought I was going to pursue a teaching career.” He received a scholarship to the University of Arizona, influenced by Native art icons and trailblazers Charles Loloma, the Hopi jeweler whose groundbreaking work was initially dismissed for not being “Indian” enough, and Luiseño painter Fritz Scholder, who often questioned his own Native identity. Both had studied at UA. Marlowe focused on art history, American Indian studies, and literature, hoping to transition into painting.

However, financial struggles forced him to leave college. “In the end, it didn’t work out as I had hoped, so I returned home,” he recalled.

Once back in Winslow, Marlowe worked as a waiter at the Turquoise Room in La Posada and took a position as a patient registration clerk at the Winslow Indian Health Care Center before dedicating himself to art full-time. His grandmother taught him the skills of weaving to ensure he had a backup plan.

Marlowe produces portraits using dyed wool instead of traditional mediums like oils, pastels, or watercolors, blending his visual sense, affinity for popular culture, and Navajo heritage with his formal art education.

His initial works included butterflies, specifically “three maroon butterflies with blue spots.”

A pivotal moment in his career arrived when he visited the R.B. Burnham Trading Post in Sanders, where he began weaving with naturally dyed yarn.

“Sherry Burnham and her husband recognized my weaving skills and expressed their belief in my talent,” Marlowe remarked. Her father, trader Bruce Burnham, possessed exclusive yarns imported from Britain and Pennsylvania, intended to revive the Germantown weaving style, and generously offered Marlowe one skein of every color.

“Show me what you can create with this,” Bruce challenged him.

Consequently, Marlowe’s artistic journey flourished. He gained recognition for his distinct interpretations of both Navajo traditions and contemporary subjects like street skating and rave culture. In 2017, he earned a Conrad House award at the Heard Indian Fair for one of his breakdance textiles.

Since then, Marlowe has established himself as a diverse artist. He employs both vegetal and aniline-dyed yarn to produce textiles that resemble paintings rather than conventional Navajo designs.

His “Angry Birds” textile, now part of the Heard Museum’s collection, was even transformed into Lego art. Additionally, he showcased a solo exhibition of his work at the University of Arizona’s Museum of Art in 2023.

After stepping away from art markets for a while, he is set to return to the Heard Indian Fair in 2025. “I owe them so much,” he expressed.

Yancey, Marlowe’s younger brother, specializes in colorful mediums such as paint and ink. He is an accomplished mural artist, and his vibrant creations enhance the walls of various buildings in Winslow.

He recently took a reporter and photographer from The Arizona Republic to showcase a mural he created on the side of a café that was once a trading post. This mural features a mix of Navajo, Hopi, and Hispanic symbols, including wedding baskets, textiles, a portrayal of Frida Kahlo, and an interesting character that combines elements of a kachina with R2D2 from “Star Wars.”

Further down the street, Yancey proudly displayed his latest artwork: a mural and painted signage for a new frybread restaurant. As he showed off his work, he shared his aspirations.

“I dream of having an off-grid home with my girlfriend and a large pickup truck,” he said, gesturing towards a large black truck with oversized tires. “And I also want a dedicated studio.”

Yancey expressed his desire to relocate his tattoo studio to a more spacious location. Currently, he shares a corner booth in an existing tattoo and body piercing shop but hopes to have room for expansion.

While at his current space, Yancey demonstrated his meticulous tattooing skills. He skillfully maneuvered a needle filled with black ink onto a client’s arm, outlining the image of a Greek god on the man’s bicep. The client plans to return later to complete the design once he saves enough money.

Yancey’s wish for a dedicated space is soon to come true as Marlowe revealed that the brothers have found a studio they will share.

Debra Krol covers Indigenous communities at the intersection of climate, culture, and commerce in Arizona and the Intermountain West. You can contact Krol at debra.krol@azcentral.com. Follow her on X @debkrol.

This coverage of Indigenous issues relating to climate, culture, and commerce is made possible by the Catena Foundation.